Negar Ahkami the Consumption
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Negar Ahkami THE CONSUMPTION Leila Heller announced the opening of The Consumption, Negar Ahkami’s second solo exhibition at her gal- lery in New York City. The exhibition ran from June 6 – July 6, 2013. The Consumption features a selection of new works by Ahkami, including exuberant paintings with bas-relief surfaces that depict a variety of figures in water. A fully illustrated catalogue, with an essay by art historian Jane Panetta, accompanies the exhibition. Ahkami’s water imagery is calligraphic and patterned, inspired by Iran’s blue-tiled mosques, which have been said to symbolize water and nature. The artist uses all-over patterning and water symbolism expressionisti- cally, to convey a psychic loss of control. Families under water struggle to keep children afloat. Women sink on opulent loveseats, clinging to their possessions. Female figures submerged in patterned waves appear to be in ecstasy, willingly surrendering control. In these intense yet playful works, water acts as a symbol of struggle and passion. Emerging in Ahkami’s work is a new vocabulary of universal iconography exploring the human condition in today’s world. Her current works dialogue with monumental compositions of ancient Near Eastern rock reliefs. While in the past decade, Ahkami routinely created overtly political imagery, in 3 paintings in this exhibit, she revisits her iconography of melting Persianate cityscapes spreading cartoonishly towards the viewer. For Ah- kami, this caricature of Iran’s regime, and of fears of its nuclear threat, is a product of consumption “of media images that have distorted the view of Iran from a distance”. Her recent returns to this theme are spectacles of pattern that shift between entrancing and cartoonish, with more fascination than angst. Persian art influences continue to predominate in Ahkami’s new work. Her paintings’ relief-like textures, and glazes of deep blues and pearlescent whites, borrow from Iran’s lusterware and molded-relief ceramics. For Ahkami, the dynamic textures of these sources, and the obsessive, hand-made quality of the patterning, “carry the potential for a Persian-Islamic art that can be as emotive and personal as the exaggerated gestures and drips of Western expressionism.” Ahkami similarly exploits the expressive potential of complex pattern juxta- positions in Iranian art and architecture. Her depictions of figures in a cacophony of rhythmic pattern evoke their powerlessness against greater forces. Other influences apparent in her work include 1970s mattresses, majolica pottery, blue and white ceramics, as well as Matisse, Klimt and Pollock. Ahkami’s attraction to these sources emerged, in part, from her belief in their connections to Persian-Islamic aesthetics. Her paintings celebrate Persian art’s connectivity and its contributions to global visual culture. However rooted in her dialogues and influences, Ahkami’s art is distinctly her own, and represents her continued quest for a global art that honors Persian-Islamic art as well as Western traditions of individualism and free expression. About Negar Ahkami Born in Baltimore, Maryland in 1971, and raised in northern New Jersey, Ahkami lives and works in Brooklyn, New York. Ahkami received a BA in Middle Eastern Languages and Cultures from Columbia University, a JD from Georgetown University Law Center, and an MFA from the School of Visual Arts. Ahkami is currently participating in Lower Manhattan Cultural Council’s Swing Space residency on Governor’s Island. Other residencies include LMCC’s Workspace Resi- dency and Skowhegan School of Painting and Sculpture. Her work has been included in group exhibitions in national and international venues, including Princeton University’s Bernstein Gallery, the Chelsea Art Museum, the Austrian Cultural Forum, the Longwood Art Gallery, and Stefan Stux Gallery. Ahkami’s work is represented in numerous public and private art collections, including The New Britain Museum of American Art (New Britain, CT), Depaul University Art Museum (Chicago, IL), and Farjam Collection (Dubai, UAE). Pictures on the inside covers are courtesy of the artist Negar Ahkami and the Leila Heller Gallery, New York A TRUE DIAMOND SOURCE Think you have to travel to the “Big City” to find diamond experts? Think you’re getting a high-level of expertise from that clerk at the Mall? Think you have to “know someone” to get a great deal? Think again! The experts at Bentley Diamonds will show you that the expertise you can get only from people who truly love and appreciate fine diamonds is right in Wall Township. 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Franklin Tpk., Ramsey, NJ 07446 LOCATION 2: 110 Passaic Ave., Passaic, NJ 07055 Persian Heri tage Persian Heritage Vol. 18, No. 70 Summer 2013 www.persian-heritage.com FROM THE EDITOR’S DESK 6 Persian Heritage, Inc. 110 Passaic Avenue LETTERS TO Editor 8 Passaic, NJ 07055 Iranian Firefighter Saves Lives 8 E-mail: [email protected] Telephone: (973) 471-4283 NEWs Fax: 973 471 8534 Three Iranian-American Women in Tech 9 Susan Amini, the Newly Appointed Judge 9 EDITOR The First Successful Hand Transplant in Iran 10 SHAHROKH AHKAMI COMMENTARY EDITORIAL BOARD Iranian-Americans (Maboud Ansari) 12 Dr. Mehdi Abusaidi, Shirin Ahkami Raiszadeh, Dr. Mahvash Alavi Naini, No Traces of Old Tree (poem) (Firouz Hejazi) 14 Mohammad Bagher Alavi, Dr. Talat Bassari, Mohammad H. Hakami, The Cyrus Cylinder, the Symbol 15 Ardeshir Lotfalian, K. B. Navi, Dr. Kamshad Raiszadeh, Farhang A. of Great Leadership and Human Rights Sadeghpour, Mohammad K. Sadigh, Dr. David Yeagley. Olympics and Iran-US Relations 15 Theft of Persian Artistic and Cultural Heritage 16 MANAGING EDITOR HALLEH NIA (Davood Rahni) ADVERTISING What is Iranish? 16 HALLEH NIA Mapping the Iranian Genome 17 * The contents of the articles and ad ver- 2013 National Survey of Iranian-Americans 17 tisements in this journal, with the ex ception of the edi torial, are the sole works of each THE ARTS & Culture in di vidual writers and contributors. This maga- zine does not have any confirmed knowledge REVIEWS 18 as to the truth and ve racity of these articles. Irandokht: Daughters of Iran 19 all contributors agree to hold harmless and indemnify Persian Heri tage (Mirass-e Iran), The Art of Kevin Hosseini 20 Persian Heritage Inc., its editors, staff, board of directors, and all those indi viduals directly Interview with Professor Fazlollah Reza 21 associated with the pub lishing of this maga- zine. The opinions ex pressed in these articles (Shahrokh Ahkami) are the sole opinions of the writers and not the journal. No article or pic ture submitted will be The Promise of Almaty (Omid Irani) 24 returned to the writer or contributor. All articles The City of Polish Children 26 submitted in English must be typed. * The appearance of advertising in this maga- A Monologue (Alexander Tamraz) 28 zine does not constitute a guar an tee or en- dorsement of the products by Persian Heri tage. Abu Ali Sina (Avecenna) 29 In addition, articles and letters published do not reflect the views of this publication. My Journey in Life (poem) (Bahar Bastani) 29 * Letters to the Editor should be mailed, faxed or e-mailed to the above addresses and num bers. Interview with Dr. Fereydoun Ala 30 The journal reserves the right to edit same for (Shahrokh Ahkami) space and clarity or as deemed appro priate. * All requests for permissions and reprints must be made in writing to the managing editor. 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